New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-04-14
THE ACADEMY EYHIBI TON.
Seeo nd Notice.


1t is pleasant to note Mr. Eastman Johnsons return
to genre PAINT a. for his work is rarely without
the touch OF nature which is worth so much more
than mere ceverness OF manner His picture OF Nam
tucket whaling captains explains itself IN the faces
and action OF the figures. These true represent
atves of the older race of New England sailors,
which we told must become extinct. Men like
these are TO be met with and then the wharvcs
of New Bedford, among the rotting huks OF whale
ships, or at Edgartown along the Cape but per.
haps it is at Nantuce that the race Is best preserved
Mr.. Johnson's group is true TO lite and the central
figure especially is an admirable type. 1t might be
possible to find some fault with the opacity vi the
shadows, quality OF coloring what not, but the
really important things the naturalism and dis.
tncy American character OF the cture the latter so
distinctive give il almost historical value. In
other words, here in Mr.. Homer's Under-tov,'
the artist has had sympathy with his subject which
has gone deeper thu its use as material" Tho
UndertOw" expresses both the spirit OF the suoece
and the force of surprisingly vigorous personality
IL Is not only the drama, but drama OF which the
artist might have been part He has studied these
figures under these conditions, and watching tho
effects of iull light he has noted the violet tnts OF
the shadows upon aesh and elsewhere, the impress
sionists" painted them. 1t is interesting to see
American artist working out results like those which
have excited the opposition OF the French Academic
painters. Mr. Dewing on the other hand. leaves the
feeling that he is painting according to a borrowed
formula His purpose il thoughtful and serious and
this is much. Emerson's poem has Interested him,
and This endeavor to translate ITS significance into
pictorial form has been in earnest, although Re haa
not worked out his own manner OF expression. II
lie impossible to dissocate the influence OF Crosvenor
Gallery astheticsm from this color scheme ana the
meag faced figures. Yet they not without somo
nobility of character. In o considerable measure they
convey the feeling OF the poem, but the artist has
been guilty of very awkward passages like tho
arms stretching out to the harp whatever 1t may bo
called itself unganly feature. Judged simply ny
mental processes OF power OF sympathetic feeling.
there is not mu,n else to be classed with these pct
ures. Miss L. Il. Kings Lotus Eaters" is in the
same vein which Mr. Dewlng has followed, but in ex-
ecution it has less interest. Mr.. Churchs "Surf
Phantom, excellent example OF decorative use OF
line and color. and Mr. Ryders rich color scheme, in
which the human element is without significance.
may both be cassed among the iaeal work. Perhaps
Mr.. Cox would claim the same rank tor his Flower
de Luce" q frankly brutal study OF nude figure.
which may have had place In studio practice, bus
outside the studio is as meaningless as 1t is unbeau
ti'u
With the detail painters" appears to be Of
consequence than substan 30, but Messrs Noel
lor and Uricb to be credited With uncommonly
ambitious efforts. In Mr.. Moellers composition Of
three fgures the action OF the angry disputant 10
clevery hit Off, the perspective is better than usual.
and the parts OF the pictore in most instances keep
there Is nothing equal to the painting OF the head IN
the artists "Puzzled." Accuracy OF detail and
minute execution are combined ned with considerable
be deeply corrugated and hot in color. In TACT
the general ooorng OF this picture, even though u
Just the nervous gesture which is conspicuous
w0uld ultimately grow weariso.ne. All that can DO
said of precision" and finish may be granted, and
yet OF what real consequence is the childish momen-
tary squabbing OF three old men. for none Of whom
the artist has made straw Mr. Moeiler, like
Mr. Urich, is enlargDg his scope regards the sixs
and incidents of his compositions, but not regards
real significance. MI. Ulrichs picture appeals Gully
to curious interest in magnificent spectacle. an
example OF formal symbolism expressive OF an. thing
but humility anu treated here in purely spectacular
way. 1t is on Maunday Thursday, or Holy Thursday.
Patriarch washes the feet OF beggars at st Marks.
aud Mr.. Uricb has no doubt described the ceremony
correctly enough, even down TO the Whispering and
by play which destroy any feeling VI solemnty. The
tai bass icUtern is cleverly painted although the
reflections seem exaggerated and nothing is spared
OF the gorgeousness OF the costumes. The effect 10
Kaleidoscope rather than seriously pictorial but this
sort OF turgid description finds admirers tor time.
1t pity that the artists talent is not manifested
Woolf, who came forward with the detail painters"
. Few years since, have changed their manner. The
formers Fogsy Morning y has little individduslitI
promising. Mr. Harris's Marrow Escape" is NOT
worth the dignity OF oils, but his A Prayer shows
an attempt at something serious. Mr. Creifelds ca
hi5ts some examples of microscopic art Mr.. Decker
continues his realistic" stll-lie painting. and Mr.
Chalfant il working in the came direction with much
manual deaterity, witness his Broken Lock" ~
well as his large still lite. tho former showing the
precision OF a colored photograph.
ustrang the historical art of the exhibition Those
ny Messrs. DE Thulstrup and Sc. tt ows their exist
ence to desire to record certain facts, while MI.
Gaul has aimed to strike the heroic note and win
sympathy with desperate bravery. Some OF his fore
ground figures are well ndividualized. and invest
ing his characters with human interest the artist
shows GAIN But his composition IL scattered and
weak and the weakest point il that which should
the strongest the centre occupied BY the color
sergeant and others, group bich does not explain
itself and lacxs yigor and directuess Mr. De Thul.
srup has painted the Battle OF Kennesaw Mountain"
large ale with attention to topography and the
general arrangement OF bodies of rather than to
effects which wo lid command an Immediate personal
interest Mr. SCOTS Death Of General Sedgwicg"
contains many portraits and the picture is painted
b' one who knows war trum actual experience, tho
scene is no doubt faithfully represented, without
di,gusing It's ghastness in tho least Yet those
who knew tho dead hero must have strange TASTES II
they care to much III this renorsoless meuto OF
his tragic end The picture Is all in the foreground,
and painted with much labor and some III, although
II Is studio rendering OF outdoor effect aud he
lighting is artificial Another battle painter, Mr..
Trego, has temporarily retired the oo,hct. aad
he sends only The Dark Horse" worth . better
place. in which there 10 some admirable painting